Plainly Speaking, `Forever Plaid' Is Of A Delightful, Hilarious Stripe

July 25, 1998|By DEBORAH HORNBLOW; Courant Staff Writer

A harmonic convergence of talents at the Centennial Theater in Simsbury results in a delightful, often hilarious and always melodious production of ``Forever Plaid,'' the popular musical set to the tune of 1950s golden oldies.

Directed and choreographed by Drew Geraci, a member of the original ``Plaid'' company, the Centennial production features a varsity quartet of actor-singers, the talents of two fine musicians and a production team that gives this second- coming story a dandy revival.

Stuart Ross' show, which opened off-Broadway in 1990 and settled into a four-year run, begins with the resurrection of a male harmony group known as the Plaids. Killed in a car wreck while preparing for its first big gig, the quartet has been granted a one-night-only return to the stage. As members of the group enter the theater by candlelight, singing a hymn, one of the four opines that theirs will be ``the biggest second coming since Lazarus.''

The four take the stage, which Centennial regular Ray Hervieux has designed to resemble a '50s bandstand complete with baby grand, stand-up bass, high stools, microphone stands and graded wings. Pianist and musical director Paul J. Ascenzo and bassist Genevieve Rose are at the ready.

As the Plaids make their comeback, they sing lush, four-part arrangements of a catalog of hits, including ``Three Coins in a Fountain,'' ``Catch a Falling Star,'' ``Sixteen Tons'' and ``Love Is a Many Splendored Thing.''

Although Ross' script has some amusing one-liners (``Love is a long and slender thing . . .''), much of the show's comedy is derived from sight gags -- mangled microphone cords, out-of-sync moves, nosebleeds, asthmatic wheezing and shadow puppets.

The show culminates in a touching and serious musing on the meaning of life as manifested inside ``one perfect chord.''

Geraci, who brings a certain worried humor to the role of the managerially minded Frankie, directs with great playfulness and sensitivity. He has clearly thought through his show to the last detail -- setting out Fiestaware table settings and Rice Krispie treats in the lobby. While he keeps the Plaids humming, the production deftly shifts tempos and moods for the comic mania of the Calypso sequence and the thoughtful finale.

Geraci's most ingenious stroke may have been recruiting Joey Sorge and Richard Coombs, both of whom performed several years back in his Springfield ``Plaid'' production.

The irrepressible Sorge is a show in himself in the riotous role of Sparky. A gifted physical comedian, Sorge delivers a wildly inventive performance -- violently over-crooning through ``Perfidia,'' misbehaving through the ``Mambo'' and threatening to break out of formation everywhere else.

Coombs brings a truly otherworldly, tender tenor to the role of Jinx, the nervous, quaking young man who finally finds his full voice. Coombs also draws sympathy and laughs with the comic nosebleed bits.

Keith Mahoney sings sweet and low in the part of Smudge, his basso profundo holding forth in the percussive ``Company Store'' medley.

Ascenzo plays through the favorites with what seems an effortless skill and adds his own comically cranky presence. Bassist Rose swings with style and enthusiasm.

Les Dickert's lighting design is terrific -- incorporating everything from candles, bubbles and what appear to be inverted colanders to a parody of ``E.T.'' at the end.

Costumes by Centennial regular Polly Byers are right on pitch, with special kudos for the Plaids' prized, personalized tuxes.

The Centennial crew really earn their money in the finale -- when strip lights, a plaid backdrop, spiffy jackets and a mirror ball combine to create a showstopper.

Long live the Plaids.

``Forever Plaid'' runs through Aug. 1 at the Centennial Theater Festival on the campus of Westminister School in Simsbury. For tickets and information, call (860) 408-5300.